An incomplete list of movies where the composers did NOT have to go that hard
How To Train Your Dragon (2010) - I put Test Drive on my study playlist but I can never focus to it bc I'm too busy ascending. what is that motif and why does it do that to me. I've never even seen the movie.
Tarzan (1999) - nothing has ever affected me more than 80s pop star Phil Collins singing about a boy raised by gorillas
Lord of the Rings (2001-2003) - no explanation needed.
ASK EDDIE returns Thursday, September 7, 7:00 PM PT to our Facebook page, https://www.facebook.com/filmnoirfoundation/live
FNF prez Eddie Muller responds to film noir fan questions fielded by the Foundation's Director of Communications Anne Hockens In this episode, we discuss “Oppenheimer”, why audiences laugh inappropriately at classic film screenings, how to get the most out of a NOIR CITY film festival, Fritz Lang’s “The Woman in the Window” vs. “Scarlet Street”, if either the Dick Tracy or the Charlie Chan films can be considered film noir, and more. We wind up the show with a discussion of Westerns, both noir and not. On the cat front, Charlotte is curious and Emily sleeps.
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Can’t join us on Thursday? No problem! A recording will be up on our YouTube channel, @NoirCity, on Friday, September 8: https://www.youtube.com/user/NoirCitySF
Note: Eddie will not be able to answer questions posted during the livestream nor ones left on our social media accounts
This week's questions
This past Saturday night, we were in your audience at the Music Box Theater in Chicago for the screening of “Call Northside 777”. For some viewers, the 1948 dialogue seemed hopelessly funny, no matter how serious the scene, whereas for others, the same dialogue elicited no such reaction. Do you see this kind of split reaction among viewers when you present noir films across the country, and if so, what do you make of it? (Is it okay to laugh at a serious scene if/when the dialogue sounds too hokey to sustain the mood?)
-Mike
I am planning to attend my first NOIR CITY this year. Any suggestions for first timers to maximize the experience?
-Carlton, Atlanta, GA
Could you put in a plug for the downloadable back issues of NOIR CITY Magazine?
-Jerry, Burke, VA
What should take precedence …the music or the sound? Very often, if the sound effects are that powerful and important, they take the music out. There are directors who feel that one shouldn’t hear the music. Music can be overshadowed by horses’ whinnies, or anything the sound-effect person put into the track prior to the musical scoring.
-Alan, San Anselmo, CA.
I have a question concerning noir films set in England but staring American actors. In "Night and the City” Richard Widmark would not be able to obtain a work permit.
Burt Lancaster in "Kiss The Blood off My Hands” is in England illegally, having jumped ship. How does Bill Saunders not get deported at the end of his prison sentence and how does he get a legitimate job as a truck driver without a passport or work papers?
Also, there is nothing in the plot that makes it imperative that it be set in England. The story could easily have been changed to take place in the States. Why not make this change? Or am I the only one who notices or cares about such details?
-David Fishman, Chesterfield, VA
Curious if Eddie is familiar with a tongue-in-cheek 1954 homage to Film Noir produced as a 30-minute black and white episode of "The Adventures of Superman" TV series titled "Semi-Private Eye”.
-Brian
In watching TCM's marathon of Dick Tracy movies recently, it struck me how Noirish these RKO B movies were. Would these Dick Tracy movies be considered Film Noir? If so, would Eddie show them either on “Noir Alley”, or at a Noir film festival?
-Scott, Los Angeles, CA
Would you consider the Charlie Chan movies noir, and should they be aired regardless of the Chinese aspect of them?
-Gerard
It’s so interesting that Fritz Lang basically remade his 1944 film, The Woman in the Window, just a year later with “Scarlet Street”. Do you know of any other instances where a director made such a close variation on his own film? Also, which of the two films do you think is better?
-Kingpin Johnny, Doylestown, PA
I recently watched a batch of early 1930s Joan Bennett movies and was struck by the contrast of her wise-cracking, sassy characters in those films with the film-noir roles she would go on to play in the '40s and '50s. Can you think of any other actresses that made a similar transition?
-John from Bethesda
Would Eddie consider "Julie" to be Doris Day’s noir film? Maybe “Midnight Lace”?
-Pam
Eddie, are you a fan of Westerns and what are your favorites? Would any qualify as noir?
-Kitaman
"From its opening trumpet phrase, Rota’s score takes such a position on The Corleone’s, crooning with an oppressive weight of tradition and power, even on the day of his daughter’s wedding. You are practically forced to take these people seriously. Even when the score’s mood turns lighter as in its romantic moments, there’s always a lingering sense of gravity because that’s what this score is above all else: grave power but almost as a curse, a weight that hangs over the family business and Rota infused the sound of this weight in every note."
I pretty much have been listening to nothing but film scores over the last few weeks. These compositions they craft are the lifeline of movies to me. In my previous life of unrealized dreams of being a creator of short films, music was always the basis of my inspiration. It was as important and sometimes more important to the thing I was showing to the viewer. I didn't want people to just to see, I wanted them to feel and music vibrates with the heart.